#guy who is arguably most invested in their work and guy who is least invested in basically everything going on ever

[arolesbianism]

In tomodachi life recently Juliet and Parker started dating and I was initially thinking of resetting over it but a moment of weakness prevented me and now it's planted a tiny seed in the back of my mind. They wouldn't. But what if. Think of all the phycological warfare they could have going on. Also I simply think it'd be funny.

[utilitycaster]

Do you think this episode is so boring because they brought back the Nein and reminded us how good they are? I keep thinking about this as I'm absently watching this episode, saw your post and would love to hear your thoughts on it. Because like, at least to me, most villains this campaign are painfully boring. But the Weave Mind are also boring. That was fine, M9 handled it perfectly and I loved it. Ludinus is arguably the only kinda interesting bad guy and a PC's mom is in mortal danger and I can't manage to care.

I don't find Ludinus and the Weave Mind boring! I don't find Liliana boring either! And I found Ozo Cruth and Otohan Thull DREADFULLY boring but actually, the fights with them are pretty fucking great. I mean, I have a LOT of criticism about the first Otohan fight that boils down to "this was EXCEPTIONALLY poorly signaled and I'd be PISSED if my character was killed for someone else's arc at this point in the story" but Otohan being boring is about the non-combat elements; she felt very real and compelling as a THREAT, just, she could have been a giant blender of magic knives that the party was going to be dumped in for all she had an impact on the story as a person. But I do think it is because we've seen the Mighty Nein and Vox Machina recently and remembered that they're orders of magnitude more compelling.

I think it's really like...I don't even want to say Bells Hells isn't bonded, but they lack something. I think I alluded to it in the tags of one of my posts but there's no banter between party members or sense of urgency. Like, I enjoyed the whole All-Minds-Burn/Myceit scenes a lot, actually, but after Imogen's initial (justified) panic the pacing felt unbelievably slow until we got to combat. I have found that really, for a good deal of the campaign, you have to kind of take things episode by episode and enjoy the good set pieces and scenes because it simply does not make for a pleasing and rewarding whole. The reason I didn't care about Liliana is, to be fair, partly because I think having her die would be an interesting development, but also because there wasn't a sense of "we can't stop and fuck around with mushrooms, LILIANA IS DYING" within the episode itself. No one was comforting Imogen as they ran through the tunnels. The Mighty Nein showed more personality and investment in the lead up to a fight that really, they had no more stake in other than the broad world-ending ones. As someone who's been playing a LOT of Veilguard which is all about building a close-knit team, and who's had VM and the Nein the past month to compare Bells Hells with, that lack is immediately apparent.

I said, over a year ago (possibly over two, I don't recall) now about one of the relationships in the campaign that it felt like when I see a single episode from a soap opera I don't follow. The actors are imbuing lines with emotion, but everything feels kind of disconnected. Like, this is all in a deeply subjective realm, I cannot give you a strong argument based on logic here as it's very much vibes-based, but I feel like when I watched this, my thought process was "BAFTA-winning Actor Laura Bailey is doing an excellent job of conveying the emotions 'terror and anguish over a dying relative' in this line read, and not "Imogen Temult, a character I've been familiar with since October 2021, is devastated over the potential demise of her mother.' " And I never had that issue with C1 and C2. Like, you can call it je ne sais quoi or the juice or the sauce or chemistry or the spark or whatever the fuck but Campaign 3/Bells Hells simply doesn't seem to have it for a huge number of people who have adored pretty much every other Critical Role work, and that means something. My personal thought is that it's because this has been such a plot-focused campaign without strong DM prepping of what kind of characters would be appropriately invested that we've had the problems we did (rampant indecision, lack of party chemistry due to lack of early opportunities to mingle and meld, lack of investment in each others' lives due to insufficient time focused on backstory-related plotlines), but I could be wrong, and ultimately the root cause isn't super important to this question, which is just. they don't have the it factor.

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[salvagevillaintalk]

The Curious Case of Moonfish

When it comes to League of Villains, for the most part you could say that the group was 'usually' handled decently. Sure, not everyone got their due time to super shine, but they at least had a moment to leave a good impact on the story...

All except for, debatably one:

Here's Moonfish - arguably the most 'irrevelent' Villain of the League.

Hold it!

Now when I say that, I mean in a 'least impact' sort of way. Even Moonfish still had his due...kind of. He was the one that allowed us to see Dark Shadow when on a rampage. He got us to learn more of Shoji's quirk mechanics. More lore on how the law system works in MHA - namely death row does exist. So he does have some purpose.

But, the issue lies in if It's truly enough?

Think about the two other members of the defeated 3M trio and their impact on the story.

Muscular is connected to Kota because he orphaned the kid and his defeat signalled the fact that there are people out there that will be his Hero. Muscular, even in defeat, beat Deku to the point that not only could he not help save Bakugo, he had to change up his fighting style to be more leg based. He has a long lasting impact on the trajectory of the manga, and what doors could be opened by Deku now. He was also used to show that, yes, while a good chunkf of Villains are redeemable - Goto is not one of them. (Well, one can argue Deku didn't quite try, but that's another debate down the road).

Mustard also had significant purpose to. His fight showed that, even if it wasn't often, Class B's members would have significant time devoted to them and hold key roles in the plot. He also held a very major role of knocking out the majority of Class B and ensuring the Villains would have reduced numbers to fight overall, alongside his gas being the narratives way of preventing the Villains exit from being readily discovered. So while not on the same scale as Muscular, he's a vital part of the Forest Invasion.

Moonfish...um...he's...not quite the same level as the other two. Sure, we got to know more on Shoji's quirk, but, well, that doesn't really require Moonfish to be the only one to get that info (heck, you could even have Toga be the one to steathily slice Shoji's arms to get his blood to get the same effect).

While Moonfish allowed us to know death row exists, again, it doesn't mean he specifically needed to exist to provide that info either, especially with some focus on Tartarus coming up past Kamino.

But what of his contributions to the Forest arc. Which that is to say...um. Well, Moonfish probably contributed the least to the Vanguard's operations. Even Muscular, who got beat first, went down gravely wounding someone on their kill list. But Moonfish's track record well...

He cut off Shoji's arm...but he could regenerate it so it didn't matter.

He caused Dark Shadow to go berserk, but it only served to get himself taken down next...and again, Moonfish himself didn't need to be the one to cause Dark Shadow to go AWOL in the first place.

He fought Bakugo and Todoroki - but not only stalemated and couldn't really harm them, he was trying to eat Bakugo...you know. The person he was tasked to capture XD Something that would have outright ruined their mission since it was not on the game plan.

It also doesn't help that Moonfish's personality is...really flat as well. He's dedicated to his job, sure, but its constantly overshadowed by his love of flesh and insane nature. He's not a smug loudmouth jerk like Muscular who you just wanna see punched or someone that brings up intrigue like Mustard with his resentment of those with 'one note' Quirks. He's a crazy guy, but its not an interesting crazy that keeps you hooked beyond thinking 'ooh, this guys creepy' for a moment before moving on. As such, it's hard to see Moonfish as human like rest and not unlike a Nomu, which makes it harder for people to really get invested.

So you can see the issue here, Moonfish's contributions either didn't quite need him to really succeed or gain knowledge from, were undermined by the story itself, or were just a detriment to his team overall. He lacks the connection to past characters to really get people to root for his defeat, and he lacks being the opportunity for underused cast to get their time in the sun. He also just doesn't have the personality needed to really get people to think of him beyond just being the brief crazy guy for the League either.

It's a recipe for being the odd one out in a trio that's already underused in the story.

And believe me does his role in the Second War not do him any favors.

Muscular at least had a spotlight as being the one to break other people out of jail and, even if flawed, showed that some Villains don't want to be redeemed or find peace - they just want chaos.

But Moonfish?

All he got was a brief cameo as apart of the Okuto Island Villains, not even mentioned as a League member but 'Jailbreaker'. The disrespect XD! He's been demoted!!! The indignity!!! But, yeah, aside from this cameo in his new spiffy outfit, the story does nothing with him.

He doesn't really reunite or talk with the League of Villains that remain. He doesn't spout anything new or anything that recontexualizes what he already know. He doesn't even get his real name revealed like Goto. He doesn't go down meaningfully, isn't even acknowledged by Toga or Kurogiri. He just...kinda exists? And that's kinda the weird thing about Moonfish that sums him up in story:

He's a Villain that's creepy and kinda exists...that's it. His allies don't care about him (heck Compress REALLY does not give a fuck about him since he left him behind), the Heroes think he's troublesome but not on the same level as the High Ends or Toga, ooc he's not really someone that is given the same level of importance, he's just...kinda the filler villain meant to pad out the story? It's sad but sums him up pretty well.

...And it also doesn't help that in the Yakuza Arc, Horikoshi went about making two characters to 'replace' Moonfish in both Quirk and attitude, respectively XD

The Blade Villain's power under Trigger is essentially a better version of Moonfish attached to a person with a more sympathetic figure (even if he's kind of a dick still XD).

As for the raving lunatic with hunger issues that's also an experience powerhouse, Tabe's also more interesting and likable than Moonfish in that department. He's notable a social outcast due to his Quirk to the point that he legit doesn't care if he dies it it means he can help the one person who accepted him, and has made friends with the Trash Trio to the point that, even in his hungry state, he doesn't want to eat them. Which nets him far better than Moon being showing as uncaring to eating both Villains or Heroes alike.

So ontop of not really being liked or respected in and out of story, the narrative promptly had him replaced twice with one-shot characters who are essentially more positive takes on his power and archetype...

Yeaaaah, its hard being Moonfish. Honestly, had Horikoshi gave him Tabe's whole tribulations, where his Quirk affects him on a dietary, level he could have been received well more...but that also likely steps on Toga's arc. I did suggest back during my League Nemesis post for Moonfish that he could have been abused by his community, likely a cult in this case, to the point it warped his diet and sanity that eating 'meat'/people was his only way out and enhance his love for his job a bit more. It would give him something to stand out on his own two feet instead of just being 'the crazy one'.

But, as of now, Moonfish is pretty much stuck with the most 'irrelevent' League member for a reason

[thisselflovecamebacktome]

Help I was never that invested in their relationship while it was happening: what cracks around Red TV and also what about the Betty speeches???

In all fairness, neither was I. This is all just what I gathered/put together from seeing what other people were blogging and the music Taylor was releasing, so people are free to correct me on all of this.

So a lot of fans saw what they deemed inherit (so like would be the case for any relationship) red flags and cracks in the relationship years before the breakup. Some of these I agreed with (a sense of romanticism/lack of accountability of Joe's actions that negatively affected the relationship, him missing events, her seemingly always travelling for him but not vice versa etc) and others I did not (the fact that they weren't married despite being together for years).

In early 2021, I made a comment that I found it very weird and off putting that Joe, someone who would later to have been deemed to have worked enough to get a Grammy for the album, was not at the Grammys when Folklore won album of the year. I was absolutely torched for it despite noting that there was already a pattern of him not showing up and that Folklore/Evermore implied they had issues (because, for example, why would she be lumping him in with her biggest heartbreaks in Hoax if things were good between them?). Like everyone and their mother sent hate about how I was a covid denier because it was clear the only reason he wasn't there was due to covid restrictions despite the fact again, he worked on the album and everyone else who worked on the nominated albums were there. Joe also started filming Conversations With Friends within the 2 months after the Grammys and had been announced to be doing so by the time the Grammys were on, so it wasn't that he was above going out for work related stuff.

Later on, we learned from Aaron that Would've Could've Should've and arguably more importantly, High Infidelity was written on the Grammys trip. To me this confirmed that there were cracks in the relationship from at least this time because it showed the impact that not seeing John/having her partner there to back her up had but also, the only other song being mentioned being about the guy she wrote "I didn't have a partner that I climbed it with that could, like, high-five. I didn't have anyone I could talk to who could relate to what I was... shouldn't I have someone that I could call right now?" about being written at that time and the parallel of Calvin not showing up in 2016 and Joe not showing up in 2021 was loud to me.

As time went on, Joe started not showing up to more things (despite his family showing up, so it's not that he couldn't) and during RED (Taylor's Version)'s release week, everyone here picked up on the fact that she seemed to not be doing well mentally. At the time it was put down to "She wanted Joe there but life got in the way and he had to work", with some going as far as to assume that an agreement had been made between them that he'd be there just for him to break that agreement and to 'fix' it, Taylor had travelled to be with him. This was also the trip that her and Jack started their portion of Midnights, and, from today, we now know that You're Losing Me was written within the month of that. So to many people, until today, this was the first crack in the relationship in their opinion. But like I said, to me it felt like there were issues there for a while now, and certainly throughout that year, something that has been confirmed now.

Midnights is then released last year and most people picked up that it was an album in which Taylor was going through her failed relationships to see what went wrong and prevent that happening with Joe. A lot of people also notice that marriage is a big theme and start wondering how much of the naysayers concerns were right in the way of like did Taylor really just want to stay in that "Lavender Haze" or was she settling. Discussions on the matter seemed to quieten down when they were getting the house together in the US because it was forward movement. But looking at it in this light, it does make a lot of us question if he only proposed to keep her quiet and have her not leave. As an aside note, this was the biggest revelation of You're Losing Me to me because like I was team "just because he hasn't proposed at this point doesn't mean he's never going to or that she's unhappy at that aspect" because I know and have been in many relationships like that where I was perfectly happy. The issues I saw with them weren't about that at all and this is yet another thing he messed up in my eyes if that makes sense.

Either way, we're now skipping forward to this year. Joe has missed several more big events and Taylor eventually cuts it off, seemingly due to him not showing up to Eras Tour being the final blow. In the shows that followed, her Betty speeches change drastically with a big focus being on men giving genuine apologies and not proposing. The albums with You're Losing Me are also legally released in the US via the shows then later world wide with the exception of Australia (great night for memes, but I still don't understand why we weren't included as a side note lmao). Everyone at the time assumes it was written post breakup. Like even with me, I assumed it was about the 2021 period, but was written in 2023 because I figured there was no way he would have heard this, which I believe he had, like couples share everything like this, and not done everything he could to actually fix it, not just give a bandaid solution. But apparently not.

So yeah, that's what you missed on Glee I guess. Basically TLDR: There were issues for far longer than most people thought, and even though I was one of the people who did see it, I hate it for Taylor's sake that I was right, and am just glad that she's left that situation to be honest.

[applecath]

Draw near, allies, for these are dark days for “kink-shaming”. At best, this is one of the whiniest, most pathetic and least helpful phrases to have entered the parlance of modern times – and at worst, it’s just another guy’s excuse for sexual abuse. It’s confusing. You try to be modern and post-conventional, and you end up enabling the most old-fashioned and conventional nastinesses of all.

Still, thank heavens for the parade of embattled famous men fighting kink-shaming’s corner. I have just one thing to say to all the lady authors, lady pop stars and lady actors out there. And that is: if you haven’t had an eye-wateringly expensive lawyer draft a statement about how consensual your sex with a tormented junior was, then are you really properly creative at all?

Fighting out of a Brooklyn detention centre, we have the rapper Sean “Diddy” Combs, who is on remand facing sex trafficking charges and about 120 lawsuits alleging drugging and sexual abuse, including of teenagers and minors. He denies the charges, some of which relate to his so-called freak-off parties. This week, Diddy’s lawyer’s take on the multiple federal charges was that the US government was trying “to police non-conforming sexual activity”. “The prosecution of Mr Combs is both sexist,” this lawyer hazarded, “and puritanical.” Righto.

Elsewhere, we have actor and oil scion Armie Hammer, #MeTooed back in the day over a number of sexual abuse and coercion allegations, plus a little light cannibalism talk – which he says was like being “left standing there naked in front of the world with all of your proclivities or kinks being judged by the world”. Despite police reports, no charges were brought, and Armie now observes of his downfall that “people were my bags of dope with skin on it”. Ah, ye olde sex addict, hoovering up his chosen substance – women – that just happens to have “skin on it”.

Meanwhile, Channel 4 is currently showing a documentary on the rock star Marilyn Manson, who has successfully ridden out years of grim abuse allegations, including by his much younger former partner, Evan Rachel Wood. The documentary contains some previously unaired interview footage, in which Manson declares: “I’m not into rape whatsoever … I prefer to break a woman down to the point where they have no choice but to submit to me. Rape is for cowards, for lazy people.” Certainly for other people.

But arguably the newsiest one this week concerns the author Neil Gaiman, subject of what might have been last summer’s dam-breaking Tortoise podcast, Master. Except, there are some dams that people – and fandoms – are hugely invested in keeping intact. It has taken till now for the follow-up, courtesy of New York Magazine, in the form of an investigation entitled There Is No Safe Word, which features eight young women alleging sexual assault, coercion and misconduct by Gaiman, six of them on the record.

Gaiman denies anything was non-consensual, and says that the claims contain “descriptions of things that happened sitting beside things that emphatically did not happen”. He has remained largely hidden behind lawyers since the allegations surfaced last year, with one of these legal eagles telling Tortoise that “sexual degradation, bondage, domination, sadism, and masochism may not be to everyone’s taste, but between consenting adults, BDSM is lawful”. Was boundaried BDSM what was going on? The alleged victims say no, and they say it at complex length in the New York investigation.

Take the story told by Scarlett Pavlovich. Even unconventional people end up needing conventional things such as childcare, which Gaiman and his ex-wife Amanda Palmer seem to have decided was best obtained by asking women who were also fans. Aged 24, Pavlovich has arrived for her first day of work at Gaiman’s – he is 61 – to discover the child is in fact on a playdate. She has only known the author for a couple of hours when he suggests she takes a bath in his outdoor tub while he’s on a work call. Minutes after, he appears naked, and joins her, swiftly beginning to stroke her feet. According to the New York Magazine report, she tells him “she was gay, she’d never had sex, she had been sexually abused by a 45-year-old man when she was 15. Gaiman continued to press.” Indeed, he does so to the point of anal penetration. “Then he asked if he could come on my face, and I said ‘no’ but he did anyway. He said, ‘Call me “master”, and I’ll come.’ He said, ‘Be a good girl. You’re a good little girl.’” She goes home to Google #MeToo and Neil Gaiman. Yet in time, she also goes back to Gaiman and Palmer’s houses. And months later, a vulnerable young adult without a home and estranged from her own family, she is still stuck in this toxic cycle. And has still never been paid for all the childcare.

In our era, people have righteously debunked the myth of the perfect victim – but less so the myth of the perfect perpetrator. The perfect perpetrator is an evil stranger – yet sexual abuse is overwhelmingly likely to be carried out by someone you know, who you may be related to or in a relationship with, and who is pretty nice to you some of the time. These are complex and inconvenient truths, but they are truths.

Furthermore, there are perfect perpetrators in the public imagination. Harvey Weinstein, once he was exposed, was the perfect perpetrator. Physically repulsive – hey, it is what it is – and not actually famous in the world outside his professional community, he was the kind of 2D scumbag no civilian could possibly be invested in. People in the normal world will always be incalculably more relaxed about the exposure of a movie producer, a job they instinctively regard as commoditised, than they will be about losing any kind of artist, a job whose works have affected them over the course of many years. Perhaps this is why many fans of the master storyteller Neil Gaiman are refusing to listen to the less appealing, less magical accounts of those women who allege he took advantage of them.

As for Neil himself, I see Gaiman still can’t let go of the allyship argot, which frequently feels performative and knackered, but in the circumstances of this case comes off as actively ludicrous. Finally breaking the silence on Thursday, Gaiman said that he hadn’t commented thus far on the multiple, months-long stream of allegations, some of which he had allegedly sought to silence via NDAs, “out of respect for the people that were sharing their stories”.

Sharing their stories, if you please! Neil: some of them have “shared their stories” with Auckland and Devon and Cornwall police. Are you attempting to be an “ally” to your own alleged victims? Either way, great to find you holding space/checking your privilege for them. You’ll note that people like Neil even react to sexual abuse allegations in a superior way. Honestly, I’m feeling somewhat lesser, here. I’ve literally never given $60,000 or $275,000 to people I haven’t sexually assaulted so that I can – hang on, let me get my reading glasses on – help them get therapy/“make up some of the damage”. Having said that, I have always paid my nanny via PAYE, and have never attempted to have sex with her. I recommend it.

Marina Hyde is a Guardian columnist

This short article is sarcastic, serious, and at least low-triggering. It's the easiest and quickest to read about the basics so far, with brief info. on similar legal situations.

[artbyblastweave]

Cauldron has this cultivated aesthetic of being the adults in the room. Like many of the most powerful capes- Scion, the Slaughterhouse 9, Sleeper- They very noticeably eschew typical cape iconography in favor of fairly grounded clothing. Dr. Mother dresses like a doctor. Contessa wears a suit. Number Man dresses like an accountant. When it comes to their superheroic members, Alexandria- the one most in the know- picks the least superheroic costume she can get away with, a stark black bodysuit with subdued and deliberately obtuse iconography. Eidolon wears a costume designed to assist him in fading into the background whenever he’s not needed. 

When Number Man is mentally ragging on capedom as a concept, painting the entire thing as a ridiculous delusion enabled by power, he namedrops Legend- a guy he’s in the room with on a regular basis, and also the only one of the bunch who genuinely believes in superheroism as it was sold. Everyone in the organization who “matters” wants very badly to come off as above the pell-mell of the cape game, more detached, more objective, less theatrical.

This is, of course, bullshit. 

Doctor Mother was a college-aged young adult on her way to a club when she got shanghaied into saving the world; she’s Larping Doctorhood. Fortuna was eight when she got her power and is fundamentally infantilized by it; Alexandria went from thinking about Maggie Holt to subverting democracy with her Ferrari-brain in two years and change. Eidolon spent his whole life as a sheltered, disabled ward in a small town in the middle of nowhere before abruptly being handed borderline omnipotence. Number Man abandoned being a serial killer because it was “immature” and then immediately started dressing like the platonic ideal of a “mature adult” that he had in his head, all while using his power to play real-life monopoly with the economy. 

All of them are like this. All of them had their development, their life experiences stunted in a way that also made them powerful enough to purchase the right to have everyone take them seriously, in the exact way that Number Man mocks Legend for. They’re dressing up as much as anyone else in the cape game; in the meeting where Taylor is seething at the amount of work everyone is putting into maintaining their secret identities while the goddamned world is ending, Cauldron is sticking to their particular brand of dress-up as much as anyone else in the room in how hard they attempt to come across as the mature, informed adults, right before they begin to create co-ordination problems due to how invested they are in that self image.

Cauldron is a case-study in why secret identities are so massively important to Wormverse capes. The general Cape population is arguably playing dress-up, but the artifice involved inherently leads those capes to a recognition of their own affect. Legend might put on a goofy costume, but he can recognize the costume, take the costume off, and go home to his family. Cauldron? Nearly to a man, lost in character.

[plus-size-reader]

Crush

Philip “Lip” Gallagher x Plus size!reader

Word Count: 1726 words

Warnings: none 

Summary: Lip develops a crush on the reader, Fiona’s childhood best friend

——————————————————————————————————

Fiona'd had friends of hers in and out of the house since Lip was a kid, but no one more so than you.

You were arguably her best friend in the entire world and everyone knew it. For the better part of both of your lives, you’d been inseparable and it was only natural that you get close with the rest of her family.

In a way, for them, it was like you were a part of their family, and even Frank spoke highly of you, which in itself was a feat. They just all seemed to love you.

Unfortunately though, as Lip got older, he didn't seem to feel the same way.

It wasn't that he didn't love you, because he did, and you were very important to him. It was just that he didn’t feel the same way for you that the rest of the Gallaghers did.

More than anything, he was in awe of you for everything that you were. You were confident and gentle, with more heart and soul than anyone he’d ever known. You were sweet, and caring, while also being a huge badass.

To Lip, you were everything.

...But he knew the truth.

You saw him as nothing more than your best friend's annoying baby brother, and that was never going to change. What did change though was how Lip wanted you to see him.

He didn’t want to be that in your eyes, not when he could be so much more.

Not that you could ever know that.

Lip was positive that he would die if you ever found out how he really thought about you. Nothing could ever be more embarrassing, especially because he had a pretty good idea of how it would go.

You were the one woman in the world he couldn't be confident around, and it had everything to do with the history you two shared.

You had helped Fiona raise him; and Ian, and Deb, and Carl. Hell, even now, you picked Liam up from daycare three days of the week.

You knew everything about every single one of the Gallaghers and the crush that Lip harbored wasn't going to be anything more than a cute little joke.

What you didn't seem to realize was that Lip was a grown man now.

He didn't need you to take care of him now, not anymore.

You were no longer the girl who came around and bothered him when he tried to hang out by himself, and you certainly weren't the girl who'd found his playboys under his bed and put them back without a word anymore either.

You were attainable, as far as age, feelings, and experience went but that didn't mean that Lip could make you his.

Every member of his family was too invested in all this for him to start going out with you, not to mention that Fiona would never allow it. She would sooner end his life than let him be with you.

So Lip kept quiet.

It was much easier to do than opening that can of worms.

He opened the refrigerator door slowly, his hand lazily falling on the neck of the bottle. It was as if the motion was a habit by now, and he didn't even have to think about it.

Across the kitchen was you, giggling at whatever was being said over the phone. He didn't know who you were talking or what it was all about; all he knew was that you were having an amazing time.

There was nothing Lip wouldn't do to hear that laugh but he just wished that he could be the one making you act that way.

Knowing that he couldn’t was more than enough to anger the younger male, who slammed his near-empty bottle down on the counter without a word and stormed out.

You hadn’t really been paying attention to him before that, but you couldn’t help but notice that he was gone. It would have been impossible not to but what you didn't know was why?

It certainly couldn’t have had anything to do with you.

You had just been on the phone with your cousins in Jersey. They spent most of the time arguing with one another more than talking to you, but they were also a laugh riot.

...But Lip didn’t know that.

In his mind, you had been laughing and carrying on with the greasy yet somehow charming usher from the theatre who loved you. He hit on you all the time and it wouldn’t have surprised Lip if you’d hooked up with him.

There was no way for him to think about it that didn't make his blood boil.

You were his, you just didn't know it yet.

~ Normally, you would have let Lip be.

Sometimes he could be dramatic and it was possible that he’d just gotten upset about something else and you’d read the room wrong. However, you had a feeling that wasn’t the case.

So, naturally, you went to go check on him.

If you were wrong, you could just move on and go about your business, but if you were right, you might be able to make him feel better.

“Hey kid, what’s going on?” you asked, knocking lightly on his door frame to let him know that you were there. You didn’t want to say anything if he was busy, but he didn’t seem to be.

In fact, he was far from it.

Lip was just sitting there on his bed, his beer bottle long discarded on the floor. It was funny, or perhaps it would have been, if he wasn’t so clearly upset.

“Don’t call me that” he snapped, catching you off guard.

There was something so pointed and aggressive about the way he spoke and it shocked you. Maybe you had done something after all, but you had no idea what it was.

“Okay, sorry. Is there something going on?” you asked, doing your very best to be understanding, even though you were more and more confused with each passing moment.

You were just lost.

Nothing that was happening made any sense at all to you.  

“No, why would there be?” he questioned, that accusatory tone still evident in his voice.

You weren’t even sure why he wouldn’t just tell you what it was, but since you were clearly gonna have to pull it out of him, you sat down.

“Out with it?” you suggested, though you both knew it was more of an order. If he didn’t want you to call him a kid, he’d have to stop acting like one.

Usually, Lip was the most mature of the Gallagher siblings but times like these made you wonder if that was true. It didn’t really make sense that he couldn’t just tell you what was wrong.

He sighed at first, the deep sort of sigh that you’d gotten used to hearing in this house. Someone always had a problem that needed to be worked out, even Lip, apparently.

“I don’t like that you talk to that guy, he’s trash, even more than most of the people around here” he commented finally.

There was a casualness in the way he spoke, though you could see just how hard this was for him in his eyes.

“Who? What are you talking about Lip?” you asked, genuinely confused this time. Clearly he thought you were talking to someone else but you had no idea who it could be.

You haven't been seeing anyone new lately.

“That guy from the theatre, what’s his name-” He huffed, scrambling a little when it came to his name. Lip had always been so focused on how much he hated him that he didn’t pay attention to what he said.

All he knew was the guy was not good enough for you and he was tired of hearing about him.

“I haven’t talked to him in forever. Why do you even care?” you asked, finding it hard not to be offended that he clearly didn’t think very highly of you.

He assumed that you were just going out with whatever guy paid attention to you, and honestly, that hurt. You had never been that kind of girl, but even if you had, it wasn’t really his business.

“Because, you’re way too good for a guy like that” he groaned, going for broke. The cat was out of the bag and there was no getting it back in now.

Gingerly, Lip reached out to take your hand in his own, his fingers brushing over the back of your knuckles slowly. The skin of his hands was noticeably rougher than yours, likely to working construction over the summer, but you didn’t mind.

Instead, you chose to ignore the strange feeling that overtook you at the touch. This was Lip, and the fact that you were even in this position was not alright

You’d known him all your life.

“Lip-” you started, but he stopped you before you could continue.

He knew that as soona s you said what you needed to say, this would be over and he at least had to get out what he was thinking before that happened.

If this ruined any friendship you'd ever had, he had to know that he got it all out there.

“I care because the right guy for you is right here, I always have been” he continued, startling you with his admission but he was far from done. Lip had been sitting on his feelings for so long, it was almost a relief to be honest.

“I know you probably think it’s just some stupid crush but it’s far from that. I’m in love with you”

By the time he’d finished, the male was almost entirely out of breath but neither of you minded. In fact, you were just trying to wrap your mind around what he was saying.

Lip was in love with you? How was that possible?

“I have to go” you decided finally, the walls of the room felt like they were closing in and you could hardly even breathe. It was ridiculous that you were even considering this, but you couldn’t help it.

Was it possible you cared about him in that way? Then, as if you hadn’t been handed enough, you realized something. What happened when Fiona found out?

[sharkneto]

I have finished! Some thoughts under read more, spoiler warning for Wind and Truth -

That was just... A frustrating read. I'm trying to justify giving the book 3 stars because I gave SJM 2 stars for the two ACOTAR books I read this year and I want to like it more than ACOTAR, but at least I knew what SJM was doing and recognized what she was trying to do. If Wind and Truth had been 500 pages shorter, I could justify it, easy. But 1,329 pages??? The amount of time and effort I committed to reading it? For how frustrating an ending? Sorry Brando, I can't.

Things I liked and I was invested in: 1) I always love Adolin, and my fear coming into this book was, as my one Normal Guy Left, he was going to end up bonding a spren and becoming Radiant. I thought his chapters trying to hold Azimir were really the only time I felt the plot's 10 day time crunch and used the insane length of the book to its advantage to feel the exhaustion of his impossible task. I loved how he ended up forming "platonic" bonds with deadeyes through his power of just being a Good Dude. Fit his character nicely and built on the trend he was already on. I was excited whenever the book checked back in with him. 2) I loved getting Szeth's backstory and his journey he was on. Poor fucked up little guy, he had one of the best paced plots and it worked really well to reframe who he's been the past four books. A very sympathetic character for the assassin that kicked off the whole series. 3) I liked how Dalinar's final choice worked - I'm a sucker for when characters have to choose to lose in order to win.

Otherwise? Just too much, too busy, so much bloat. The spirit realm plot of Dalinar and Navani and Gav tumbling around there could have been cut in half. Same with Shallan, Rlain, and Renarin with there being zero payoff for them releasing Mishram. I liked Kaladin's journey but unfortunately the pacing for it was rushed, which is insane when the book is this long. Kaladin is arguably the character we are all here for, and more time should have been spent with him and his plot given more attention for his own growth figuring out how to be a therapist. Was nice Jasnah got humbled, but we never got any consequences for countries that sided with Odium vs the Human Resistance, so ended up very little payoff for how she lost. So many little plots picked up and put down or just left because they set up things for the larger Cosmere.

That's where most of my frustration with the ending comes in. To be slightly fair, I bet the consequences and how the ascension of Retribution ripples makes more sense if you're fully up to date on the state of the Cosmere. I, however, am not. I've read 5/7 of Mistborn, and have read the Stormlight Archive. That's it. I enjoyed the nods to Mistborn I caught (but why is Kelsier here???). But once Dalinar made his move with Honor (and Honor's whole backstory tbh) the scale exploded to the entire Cosmere and I didn't have context for what these consequences were or what they were referencing. So very little satisfaction in conclusions for what the characters on Roshar accomplished (or didn't!), and lots and lots of set up for the larger Universe and the next five books. Which, unfortunately, leaves me holding these 1300 pages of words and content and going "Ok, but Why???"

I had a similar experience with The Hero of Ages - the scale of the plot expanded too much, beyond what I was really interested in or had good context to appreciate, and there were too many moments where I was left going "Sure, why not, that might as well happen." But at least that one had the decency to be half the length of Wind and Truth. So, really seems like the issue I have is with Brandon Sanderson's ability to balance and pace the later half of his series. He's obviously got his whole Cosmere very planned out on where things are going and how they all fit together, but I think he loses the forest for the trees, can't see what details are actually relevant vs a darling he should kill. I am begging him to get an editor to help him streamline.

Am I glad I read it? I guess, mostly to get the conclusion for this arc of the series and because I read it with a couple friends and there will be a lot of discussion had about it. But it's not a book I'd rec, and cements my Stormlight Archive series rec as "Read the Way of Kings, because that is a great book, and then read as far as you want." The bloat in these books means that it's a series of unfortunately diminishing returns, and I can't rec a book this long with so little overall payoff to anyone unless they're already committed to the series and want to read it just for completion's sake.

At least the hardcover looks pretty on my shelf.

W*nd and Tr*th really cementing my opinion that very rarely does a book need to be more than 600 pages, and doubly so for over a 1000

[batarangsoundsdumb]

guess fucking what? my inbox is so fucking full right now i'm unloading all of this shit in one post.

For the 11th gotham memes: gothamites react to bruce being jacked in a tiktok he made with kids, like super yoked, ripped as hell

fucking hilarious thanks. i think i did it in one meme post, but i genuinely don't remember which one

i dunno which of the batfam would do this but one time i was sleeping over at a friends house and ended up on the floor bc the bed was so very small and i just stayed there because the rug was soft

that's a drunk jason move i don't know what to tell you

tim and jason are "i listen to pop punk" solidarity. whenever jason highjacks the batmobile theyll go on long ass car rides blaring mcr and paramore and then never talk about it again

as they should!!!!!!!!!!!!!!!!!!! tim: no jason it's my turn using the aux cord i gotta put on my jams jason: don't you dare put on weird shit tim: don't worry, you're gonna love this *plays fearless (taylor's version)

hear me out hear me out, red hood stans 🤝 nightwing stans t h i g h s

holy shit yes.

SNL au: Bruce breaks character when pretending to superman and says something like "I'm not superman! You've seen his gps!! It's from 2001!!!" @sabeanybabe

superman flies past the snl building the next day just to say 'actually it's from 2005, i'm not a heathen'

does your back hurt from carrying the batfam fandom

it hurts more from the exotic rock collection i keep in my backpack, but thanks for the concern.

I love your posts by why would you always leave the best parts in the tags?

as a treat for the people that check the tags ;) (and also because i'm committed to the short post aesthetic)

somehow your playlist was everything i never knew i needed. i mean it. this is my new favorite playlist.

and don't you dare get a new favourite playlist!

babe ur stoner tim playlist is exactly too perfect, earth is literally blessed by ur existence

babe thanks so much! i love my stoner tim playlist because it's just my usual playlist but people think it's an artistic choice that i put taylor swift and britney spears in there, when it's just what i unironically like listening to

JANDKSKDK BILLY RAY CYRUS ON THE STONER TIM PLAYLIST I LOVE IT IT

again it's not even an ironic choice, i know every single word and i genuinely like the song

The last chapter of Fundamentals of Casework has me crying at work. Thanks I love it @dudelookitsalesbian

oh babe, i'm sorry, but also, not sorry i love chapter 4 so much it's my lovechild with the 'mental illness' tag

soooo....stumbled on your tumblr by some stroke of fate??? read your DC fanfic first. which is PHENOMENAL btw. then found all the batmemes; the funniest thing EVER bc everyone forgets about regular old gothamites. kept scrolling and your blog pops up as recommended. clicked on the ao3 for shits and giggles and waddaya know?!?!? it's YOU!!! you're LEGEND!!!! ever seen that meme? it's a video of a cat that got into a baseball field and the two announcers get really invested in his escape attempt and start giving a play by play of the cat instead of the game. memeable moment: "GREAT stuff from the Cat!!!"

i seriously think about this ask every single day and it's so fucking funny to me that i've never seen the meme you're referencing, but i still find myself going 'GREAT stuff from the Cat!!!' whenever i see something funny. but wow i'm glad you liked this steaming pile of garbage

Fav dc character overall? And fav batfamily character?

don't ask me to pick between the loves of my life, but i can tell you i've cried about every single batfamily member and also wally west (my beloved)

What's your opinion on fans having a problem with batfam being "too big"? And some even claim that batfam is just "Bruce Alfred Dick Damian" and the rest of them are just "friends and allies" (source: reddit) Personally, I like batfam because of this reason but idk

stupid. a family can never be too big. i'm not that big a fan of like huge batfam stuff with everybody from every single universe, because as much as it's funny for bruce to have like 30 kids, it just feels a little too OOC for me.

This is the best tag I've seen involving the batfam, thanks for thinking of it

This is canon now @nctxrejects

lmao yeah i think at that point alfred has had to sit through like at least a dozen coming out talks and just has a pride flag collection in the attic that he pulls out whenever a kid comes out

idk why batfam hits different as compared to any other superhero family

bc it's found family and usually the other superhero families are almost all genetically related in one way or another

I don't know if you watch the umbrella academy but I saw your last post about batcest and saw the similarities. But the thing is (although I think it's weird) in TUA, they addressed it by saying "they were raised as weapons, not siblings" or something along those lines, which is simply not the case with batfam.

yeah i watched tua but i also thought it was ridiculous and they still treated each other as siblings so i didn't like the luthor/allison thing, and am glad they stopped doing that shit bc it fucking sucked.

Hot take: Batcest shippers are the same people who believe adopted siblings are not actual siblings

smoking hot take: batcest shippers are the people who watch 'my sister got stuck in the washing machine' porn

Duke was adopted by Bruce?

not technically no, but do i, tumblr user batarangsoundsdumb, look like i care?

True story but I had to change my freaking name because it used to be "Damien" and most people would go "OH LIKE DAMIAN WAYNE" like please I'm just tryna live

true story, but i don't actually think of damian when i hear the name damian, literally the first thing that pops up is damian darkh like bruh what?

apparently dc comics company supported comic stores by giving out new titles and stuff during the beginning of the pandemic to help them run and I just think that's wholesome

ah yeah that's so fucking cool, still don't like dc, the company, because this world is a capitalist hellhole and we're all owned by warner brothers or disney with no in between.

ayo looking at tumblr head canons and finding out bruce is actually a terrible father is a punch in the gut

lmao yes, in like 50% of comics bruce is a terrible father and it gives me whiplash

oooh I just saw the jason todd vs winter soldier post and the real question is: batman vs iron man

while iron man has like hundreds of cases of armor, batman could throw out an emp and have the guy dropping out of the sky in 2 seconds.

dickfast = fastdick = quickdick = quickie

magnum hot take

hey bata(?) just thought I'd let you know I have copied the obnoxious emoji and Billy Ray post for use on simping men going forth

thank you 😘🌷 (@spacebarsidecar)

why would you do that to your followers???? i get why i did it, but why would you???

what is scarecrow made the nightwing funko pop himself, like those diy-ers that paint over other ones

oh god no, horrible take, horrible take, that's a disgusting thought oh no

I see your HC that Bruce and Oliver fucked and raise you this: Dick and Roy ALSO fucked

yes they did and it was a horrible moment for jason to find out dick has fucked both of his best friends

"at this rate bruce adds like 1 child to his family every decade or so" Duke is introduced in 2013, Damian as Damian, not as an unnamed child, in 2006. And he is already 14 years old, Robins rarely remain Robins after 16 😬 It looks like a new Robin and Batkid will appear in a couple of years

i mean i can't wait? but somebody will probably die first tho, we're due for another major character death. my money's on either cass or duke this time.

BRO you're so right all of your Bruce's ex headcanons are amazing but they aren't ships, that's kinda wild. Like I don't want any peeks into how their relationship was I just want to see everyone make fun of them

lmao YES it's just i love bruce being a slut, like good for him.

I am in love with your posts your honour thank you

omg thanks are we like,, gonna kiss now?

The justice league needs to have a meeting to discuss how many of their members/partners have slept with bruce. Because through a combination of cannon & fannon (if DC wasn’t homophobic) we have AT LEAST: 1) clark 2) lois 3) oliver 4) dinah 5) john

Thats not counting villains or random civilians @dudelookitsalesbian

yes yes yes, they'll have a yearly meeting about how many of their collective exes could be out for revenge and batman's list just keeps getting longer.

tim was like "i'm drake now" and everyone was like ahh so your fursona is a dragon and tim was like pffffft no. ducks.

and what about it?

when steph's fighting livewire and she zaps her with lighting and nothing happens and then they both just. stand there awkwardly for a second and talk. yeah i couldn't stop laughing at that batgirl steph is the BEST

oh yeah that was fucking hilarious and i think it would be so cool and sexy of dc to give steph a little comic series,,, as a treat

Hi I absolutely adore all of yours "Bruce and Oliver very badly pretending they didn't fuck each other" memes

lmao i do too

I need you to know that “Bruce Wayne had frosted tips” is one of my favorite Bruce takes of all time it’s so galaxy brained. you’re right and you should say it

he also painted his hair blonde once when he was travelling and in conclusion, this is why he's being blackmailed by the gotham gazette.

you know my thing about gordon being branded as the only good cop in gotham is its a load of shit like arguably he's a good person and not working to screw people over or anything but the fact that he also works w. batman makes him a shit cop. like yea batman is better than the mob but its still illegal its still an abuse of power he just not making bank

babe, all cops are bad cops. (but yeah youre absolutely right, working with vigilantes makes you a shit cop, but also working against vigilantes just makes you an asshole cop yanno?)

ruh roh i think i’m about to add “so not yeehaw” every time i don’t like something

that's a very good vocabulary upgrade

somehow i feel like steph already knew. like babs obviously knew but i feel like bruce got high/drunk in front of steph and started telling his boarding school stories and steph was just like “oh you fucked up i’m never gonna forget this”

steph and bruce have weird uncle/rebellious niece dynamic and they just hang out sometimes and bruce will be like 'i once broke my arm when i tripped over a hedge when i was drunk so oliver drove me to the hospital on an electric scooter' and steph will just have to sit there with that knowledge in her head.

Hello I just wanted to tell you you are So right in all your steph opinions bc she is, in fact amazing and I think that's very sexy of you. Ps. Your Bruce/Oliver fic is hilarious

babe, thank you so much and yes steph is amazing and i love her and she deserves the world and she's the best member of the batfam hands down. also thanks

In Supersons we see a couple of kids that are implied to be Damian and Jon's children and the boy has laser eyes and can fly, so I asume he's not adopted. The girl, who calls Bruce grandpa, can also fly, btw. So it's canon (probably by accident) that Jon can have kids and he must have married one of Bruce's kids. (I'm hoping for Damian, mostly because any other of his children would be waaaaaaaaaaaaay too old.) @artemisa97

lmao that was probably an accident seeing as jon is a 17 year old superhero in the year 3000 (by the jonas brothers)

You know, I'm a die hard fan of your memes, but I gotta say one thing: if Gothamites actually took gas mask everywhere with them, then the Scarecrow would just be a weird dude in a weird costume, and not a villain oh so scary. DC really should just takes notes from you.

bold of you to assume there's no gothamite anti-maskers

How does it feel being the funniest person on this app?

horrible, next question.

I can't listen to Green Day or Billy Joel without thinking of your post about how Bruce got arrested at a Billy Joel concert @nightwings-kid

yeah that's your mistake, i on the other hand can't enjoy billy joel without thinking about the glee rendition of 'uptown girl'

I've FINALLY been watching the Batman animated series and I gotta say, after watching "the gray ghost" I am CONVINCED that Batman is a closeted super hero geek who was 100% freaking out the first time he met Superman and is just REALLY good at hiding it.

superman: so what do you do in your free time? batman, thinking about the superman fanfiction he's writing on the batcomputer: i have no free time

bruce and oliver be like boyfriends to co-workers 401k (do the justice leagues get 401ks??? not that bruce and ollie would need them, but-)

lmao yes just 400 thousand words of bruce realising 'oh dip oliver is such a fucking dumbass' (also i don't know what a 401 k is but i assume they don't?)

Gothamites would totally boo superman as he saves Gotham while batman is out. @meenje

he's like 'okay think about that next time you want to be saved from an alien octopus'

I just took long break from dc comics and I come back to see ric grayson ??

i think it's very cool and sexy of dc to see dick and just think 'you know what? let's just give him a traumatic brain injury' and then didn't develop his character in any real way

SPEAKING OF RIC GRAYSON, gothamites making confused memes out of ric grayson is much needed

'dick grayson is my taxi driver? can anyone explain what the fuck happened he looks like an italian plumber?'

i hate to say it but batfam are def "marvel characters" in that sense they are characters who are human but become superheroes unlike most dc characters who are gods trying to be human maybe this is why I like batfam

fair enough

[the-assignment]

Blog #1 : Get Out(ta Here With Those Whack Tropes...)

**Spoiler free** (Though with some allusions)

TIL: I’ve been living under a rock.

No, seriously. I’m not kidding.

Case In Point: I’ve just recently (ahem *finally*) watched Jordan Peele’s contributions to the black horror genre. And I know what you’re thinking: No Way! Get Out. (wink wink)

But my answer, to a completely understandable reaction, is to say: Yes Way. And Nope. (I know, okaaay).

To my own credit, I have never been a fan of the horror genre and I am even newer to the idea of the black horror aesthetic / genre. I hate – what I find to be – absolutely ridiculous and unnecessary amounts of violence and blood for no other reason than to be gross and vulgar and “shocking.” And the characterization! Even as someone who doesn’t really watch “scary” movies, I know the usual character tropes – and even the order in which they typically die. You have the token minority, the hot/slutty girl, the dumb jock, the nice girl/guy next door, the stoner, and the Final Girl (typically AKA the Virgin). It’s usually full of (mostly) dumb people making dumb choices that get them killed even faster. And if I wanted to watch stupid people, doing and saying stupid things, I’d watch Fox News. 

However, I was completely unprepared for the mind and horror artistry of Mr. Peele. Even as a longtime fan of his comedy work, I never even considered watching his movies that were categorized to be in the horror field. Because I am a giant baby. With a good memory. Who doesn’t easily forget the things she sees. As such, I’m naturally very protective about the things I watch and invest my time and energy into (which more people should be as well – but that’s a whole other post).

My first foray into Peele’s work could not have started any other way – through the absolute and instant classic, Get Out. Yes, the Get Out. Yes, that Get Out. The one that was released waaaaay back in 2.0.1.7. And thanks to my dedication to avoid anything I don’t like, and apparently the way everybody – especially those in the US (sorry not sorry) were able to keep the big plot points and the twists under wraps, I had no idea of what to expect. And boy did that pay off.

In my opinion, one of the most exciting and interesting parts of Get Out is the complete breaking of not only typical horror tropes, but that of black horror tropes as well. As previously mentioned, films have tropes that they typically follow, and which viewers expect to see. Black characters in these horror films are no exception – they just have their owns set of rules and uses they have to fall into for no other reason than to serve the white characters.

Black people in horror films almost always fall into the four tropes:

the Spiritual Guide,

the Magical Negro,

the First to Die,

and the Sacrificial Negro.

We see these tropes in many well-known and “classic” horror films: The Shining, Jeepers Creepers, Annabelle… the list continues. Even in a modern and (arguably) progressive society – these tropes are consistent and prevailing. (The Walking Dead and Fear of The Walking Dead: We see those racial biases and microaggressions, baby. You ain’t fooling anyone).

So, what makes Peele’s Get Out different? And why does it matter?

And the answer is as long as it is varied. Which is why I’ll focus on only one aspect – that Chris (the protagonist of the film) a young, black man, does **NOT** fall into any of those tropes. That’s right! There is at least one movie out there where a black man is not sacrificed (willingly or not) for the white character, or magical, or used to guide other people, nor does he die first!

Not only that – but he breaks the general horror movie trope by making freakin’ smart choices. And while, like much in real life, there’s a moment in one of the most pivotal scenes (the keys scene, everyone. Hellooooo) where it seems he made a “stupid choice” – I would argue there was really no other way around it. What was done was already done and in motion – he couldn’t have stopped it at that point anyways. (Also, let’s not pretend that, “Where are the keys, Rose??!” was him actually asking about the keys….)

I think the importance of Get Out (and Jordan Peele) can be explored and discussed many times without ever coming to an end. That’s the beauty, the intelligence, the consequences, and the movement of creating a piece of work that is meant to challenge and reclaim these ridiculous stereotypes and tropes imposed on black characters in films for the benefit of white people.

And much like Chris, I hope these tropes in film just…

Get Out.

[gayspock]

im considering tryingto make a liveblog sideblog bc LOL im posting a lot and o_o

okie almost at the end of The Locket (paused in the ending scene where d'argo finds out his son is alive) and im kinda so-so on this one

i think its like. i have to assume MOST sci-fi shows have, like, "time dilation" episodes. well i say every . i mean i can name countless instances in each doctor who (+ torchwood), star trek, buffy, etc. alone.... arguably, one in torchwood too, yeah? but wherein time moves differently for two separate parties; whether that be some force keeping them out of sync, or someone put into a different space wherein they experience time differently. like literally. im thinking of more and more instances of that in shows the more i sit on it.

and like. when its done RIGHT? my favourite plot device. im insane for tragedy and time messiness. world enough and time is my favourite doctor who episode. the visitor is one of my favourite ds9 episodes. if we're stretching it, adrift was one of my favourite torchwood episodes. like it HITS....

BUT the problem is when its kiiiindaaa ... middling its REALLY middling. like time's orphan was the most mediocre ds9 episode there ever was. sorrryyyy.

and this kinda applies here. i honestly think half of it is just.... FIRSTLY, i think it was paced and focussed wrongly. i think crichton and aeryn should have went down there together, first time - and we should have followed their perspective, entirely. dont deviate back to the ship; dont see whats going on. i think devoting the screentime like that to them, and them alone, would have really developed their situation down there a lot more bc thats what the focus should be. really immerse us. dragging us in and out, the beginning complications with aeryn- it just doesnt make it flow as well, and i think... again . following THEIR perspective STRICTLY, devoting a longer piece to just them alone on a planet and growing old so we reallyfeel the isolation- that would work better.

bc like. the OTHER stuff- the stuff with zhaan, the mechanisms of the mist, etc..... like i feel like its convoluted in a way that doesnt benefit the story. like its tryinggg to do something clever to pull it back together. and the thing is, at least with this set up, its ALWAYS going to be a weird and contrived solution for the story that they had - so why not really devote the screentime, and invest in crichton and aeryn's story?

bc like... here we just. hit a hard reset. and i dontlike that at all. one thing i LIKE about farscape is that it doesnt do hard resets. even in the last episode- that had plenty of consequences. both times where its been a simulated reality (stories that usually end with a it was just a dream, hard reset) there have been consequences and thats what makes them work

here it just kinda.... idk. cheapens it. and thats a SHAME bc i dont think it makes it entirely ... for nothing .... because i did like this exploration of aeryn and crichton. which again- is exactly why trying to focus on that, more, would have made it better

its like. tng the inner light. thats effective because we follow picard almost exclusively. we get flashes outside of it but its mostly with regards to him trying to fight against the whole experience - hence why its necessary...

anyways

DO WE ALSO GET D'ARGO#S SON SOON GOD IM SO FUCKING EXCITED I AM IA M IAM. WANT MY GUY TO LOVE HIS FUCKING SON SO BAD

alsoooo . im not warming to chiana and d'argo BUT the hypothetical relationship beats i'd want them to explore were touched more upon here. though it does sort of feel kinda meh whatevers when i still dont think they laid proper groundwork for it

anywaysthats it everyb-

I DIDNT MENTION

STARKS BACK

HI STARK

I THINK YOU WERE KINDA WASTED HERE AS UNFORTUNATELY YOU WERE TIED INTO THE WHOLE, OVERCOMPLICATING WHAT THEY WERE TRYING TO DO THING, BUT THATS FINE I LIKE YOU STARK . SMIKLLLEEE

[snuggetfish]

I gotta say, Majima is arguably the loneliest of the main characters in the yakuza series. Probably most of his loneliness stems from his tendency to push people away, and also from his troubled past. Tbh I’d just want to be his best friend & trusted confidant knowing how much pain he’s been through 😞

I fully agree anon... he’s a tragic character and it’s really heartbreaking to see how often he gets left behind. How much time he spends isolated, trapped in physical and mental cages, some others build to manipulate him, some he builds himself to avoid pain.

I think this was one the primary reasons I took such a liking to Majima. In Y0 the contrast between him and Kiryu was staggering if you looked past the surface. Two young men, both with gang aspirations, both caught up in a plot much larger than they can comprehend... but that’s roughly where the similarities end, because their lived experiences are so different. 

Kiryu is a no-name fresh face who’s still getting the hang of this yakuza thing. His upbringing was less than ideal, but he nevertheless has a support network - a kyodai, two father figures to look up to. Even if he’s not as keen on showboating as Nishiki is, admiration for Kazama and Kashiwagi and the glamour he thinks a criminal lifestyle will bring still drive him to some extent. He’s a bit naive, a bit awkward, a bit overly serious, sort of like you’d expect your typical 20-year-old to be.

But Majima... Majima’s barely 4 years older and he’s been through so. much. shit. At Kiru’s age, he already made peace with death, deciding to follow through with the Ueno hit. Then he’s torn away from his kyodai, gets mutilated for it, endures a full year of torture. By the time he’s “released” and expected to somehow fit into civilian life again, he’s accrued a reputation. Both Nishiki and Kiryu have heard of him, his name more a synonym for a cautionary tale. What happens when you disobey, what you definitely don’t want to have happen to you... 

While Kiryu has to climb from the bottom of the ladder again to earn a name for himself, Majima has to claw out from the pits of hell, pretty much literally if you think about what kinda place the Hole must’ve been... Even out of there, he spends every waking moment working a thankless job, under a sadistic, shitty boss, confined to a city far away from home, within just a few blocks of space he’s allowed to roam. And, as you mention, he’s... really lonely. I was so much more invested in making friends with the people in Sotenbori than those in Kamurocho because I felt Majima had no one at all. Not until he met the Sunshine girls at least.

And even then, they’re not the kind of friends he can fully open up to. In fact, I think very few characters throughout the series can say they’ve seen into his heart. Maybe because they don’t put in the effort, maybe because he doesn’t let them in... either way they don’t perceive this loneliness. 

Nishida knows his boss is sentimental, so he’s for sure seen glimpses of his inner turmoil, but I’m not sure how much he can be considered Majima’s confidant. More an unwitting one, at best. The power imbalance makes it hard to gauge how much of a true connection they have. Loyalty to the patriarch is paramount and I would bet a lot of the Majima family members see him mostly as a strong authority figure, someone whose image you respect and admire. Not necessarily as the complex, sometimes vulnerable man he is.

Also Kiryu. Kiryu realizes the clan isn’t what he’s bargained for and tries again and again to leave it all behind, by... offloading responsibility onto the shoulders of someone who’s as well dissatisfied with the Tojo leadership. He’s off to make his Okinawa orphanage a reality, but, like the comic I just reblogged before this says: 

“What about me?” 

What about Majima? He accepts the task of looking after Daigo, since he’s been beaten fair and square, by his own rules. But does Kiryu really never consider that Majima too may want something different? To run loose and be his own master, build a strong family, sure... alone? Always alone? Always left behind to clean up messes?

Even Saejima, the only guy who can claim he knows Majima through and through, fails to consider his feelings sometimes. Saejima’s main conviction is that “it’s never too late” and that he’s gotta put all his affairs in order, atone for what he’s done and once that’s out of the way he can resume his dream. It’s an optimistic and even idealistic way of looking at things, one that Majima doesn’t share. He’s not a kyodai collector like his bro, he’s already suffered through so many decades of loneliness and just when he thinks he has Saejima back, the guy returns to prison. Twice. 

Does Saejima really never see how much Majima's hurting? He scoffs at him in Y5 when they’re at the restaurant and then at the batting cages, says he’s being “a sack”... Come on man, you’re abandoning him at a time where he’s really feeling the weight of his years and of the changing nature of the yakuza. It’s not surprising that he’d be depressed...

I’ve rambled a lot I guess but in a nutshell: YES. I want nothing more than for Majima to have someone by his side who loves and appreciates him for everything - good, bad, crazy. Who doesn’t judge, mock or manipulate, who’s trustworthy and with whom Majima feels comfortable enough to share any and every thought. Maybe now that things have settled and he’s in his twilight years, that person can be Saejima once again... but his obvious anguish throughout the previous games is still hard to watch 🥺

[shortnotsweet]

Bakudeku: A Non-Comprehensive Dissection of the Exploitation of Working Bodies, the Murder of Annoying Children, and a Rivals-to-Lovers Complex

I. Bakudeku in Canon, And Why Anti’s Need to Calm the Fuck Down

II. Power is Power: the Brain-Melting Process of Normalization and Toxic Masculinity

III. How to Kill Middle Schoolers, and Why We Should

IV. Parallels in Abuse, EnemiesRivals-to-Lovers, and the Necessity of Redemption ft. ATLA’s Zuko

V. Give it to Me Straight. It’s Homophobic.

VI. Love in Perspective, from the East v. West

VII. Stuck in the Sludge, the Past, and Season One

Disclaimer

It needs to be said that there is definitely a place for disagreement, discourse, debate, and analysis: that is a sign of an active fandom that’s heavily invested, and not inherently a bad thing at all. Considering the amount of source material we do have (from the manga, to the anime, to the movies, to the light novels, to the official art), there are going to be warring interpretations, and that’s inevitable.

I started watching and reading MHA pretty recently, and just got into the fandom. I was weary for a reason, and honestly, based on what I’ve seen, I’m still weary now. I’ve seen a lot of anti posts, and these are basically my thoughts. This entire thing is in no way comprehensive, and it’s my own opinion, so take it with a grain of salt. If I wanted to be thorough about this, I would’ve included manga panels, excerpts from the light novel, shots from the anime, links to other posts/essays/metas that have inspired this, etc. but I’m tired and not about that life right now, so, this is what it is. This is poorly organized, but maybe I’ll return to fix it.

Let’s begin.

Bakudeku in Canon, And Why Anti’s Need to Calm the Fuck Down

There are a lot of different reasons, that can be trivial as you like, to ship or not to ship two (or more) characters. It could be based purely off of character design, proximity, aversion to another ship, or hypotheticals. And I do think that it’s totally valid if someone dislikes the ship or can’t get on board with his character because to them, it does come across as abuse, and the implications make them uncomfortable or, or it just feels unhealthy. If that is your takeaway, and you are going to stick to your guns, the more power to you.

But Bakudeku’s relationship has canonically progressed to the point where it’s not the emotionally (or physically) abusive clusterfuck some people portray it to be, and it’s cheap to assume that it would be, based off of their characterizations as middle schoolers. Izuku intentionally opens the story as a naive little kid who views the lens of the Hero society through rose colored glasses and arguably wants nothing more than assimilation into that society; Bakugou is a privileged little snot who embodies the worst and most hypocritical beliefs of this system. Both of them are intentionally proven wrong. Both are brainwashed, as many little children are, by the propaganda and societal norms that they are exposed to. Both of their arcs include unlearning crucial aspects of the Hero ideology in order to become true heroes.

I will personally never simp for Bakugou because for the longest time, I couldn't help but think of him as a little kid on the playground screaming at the top of his lungs because someone else is on the swingset. He’s red in the face, there are probably veins popping out of his neck, he’s losing it. It’s easy to see why people would prefer Tododeku to Bakudeku.

Even now, seeing him differently, I still personally wouldn’t date Bakugou, especially if I had other options. Why? I probably wouldn’t want to date any of the guys who bullied me, especially because I think that schoolyard bullying, even in middle school, affected me largely in a negative way and created a lot of complexes I’m still trying to work through. I haven’t built a better relationship with them, and I’m not obligated to. Still, I associate them with the kind of soft trauma that they inflicted upon me, and while to them it was probably impersonal, to me, it was an intimate sort of attack that still affects me. That being said, that is me. Those are my personal experiences, and while they could undoubtedly influence how I interpret relationships, I do not want to project and hinder my own interpretation of Deku.

The reality is that Deku himself has an innate understanding of Bakugou that no one else does; I mention later that he seems to understand his language, implicitly, and I do stand by that. He understands what it is he’s actually trying to say, often why he’s saying it, and while others may see him as wimpy or unable to stand up for himself, that’s simply not true. Part of Deku’s characterization is that he is uncommonly observant and empathetic; I’m not denying that Bakugou caused harm or inflicted damage, but infantilizing Deku and preaching about trauma that’s not backed by canon and then assuming random people online excuse abuse is just...the leap of leaps, and an actual toxic thing to do. I’ve read fan works where Bakugou is a bully, and that’s all, and has caused an intimate degree of emotional, mental, and physical insecurity from their middle school years that prevents their relationship from changing, and that’s for the better. I’m not going to argue and say that it’s not an interesting take, or not valid, or has no basis, because it does. Its basis is the character that Bakugou was in middle school, and the person he was when he entered UA.

Not only is Bakugou — the current Bakugou, the one who has accumulated memories and experiences and development — not the same person he was at the beginning of the story, but Deku is not the same person, either. Maybe who they are fundamentally, at their core, stays the same, but at the beginning and end of any story, or even their arcs within the story, the point is that characters will undergo change, and that the reader will gain perspective.

“You wanna be a hero so bad? I’ve got a time-saving idea for you. If you think you’ll have a quirk in your next life...go take a swan dive off the roof!”

Yes. That is a horrible thing to tell someone, even if you are a child, even if you don’t understand the implications, even if you don’t mean what it is you are saying. Had someone told me that in middle school, especially given our history and the context of our interactions, I don’t know if I would ever have forgiven them.

Here’s the thing: I’m not Deku. Neither is anyone reading this. Deku is a fictional character, and everyone we know about him is extrapolated from source material, and his response to this event follows:

“Idiot! If I really jumped, you’d be charged with bullying me into suicide! Think before you speak!”

I think it’s unfair to apply our own projections as a universal rather than an interpersonal interpretation; that’s not to say that the interpretation of Bakudeku being abusive or having unbalanced power dynamics isn’t valid, or unfounded, but rather it’s not a universal interpretation, and it’s not canon. Deku is much more of a verbal thinker; in comparison, Bakugou is a visual one, at least in the format of the manga, and as such, we get various panels demonstrating his guilt, and how deep it runs. His dialogue and rapport with Deku has undeniably shifted, and it’s very clear that the way they treat each other has changed from when they were younger. Part of Bakugou’s growth is him gaining self awareness, and eventually, the strength to wield that. He knows what a fucked up little kid he was, and he carries the weight of that.

“At that moment, there were no thoughts in my head. My body just moved on its own.”

There’s a part of me that really, really disliked Bakugou going into it, partially because of what I’d seen and what I’d heard from a limited, outside perspective. I felt like Bakugou embodied the toxic masculinity (and to an extent, I still believe that) and if he won in some way, that felt like the patriarchy winning, so I couldn't help but want to muzzle and leash him before releasing him into the wild.

The reality, however, of his character in canon is that it isn’t very accurate to assume that he would be an abusive partner in the future, or that Midoryia has not forgiven him to some extent already, that the two do not care about each other or are singularly important, that they respect each other, or that the narrative has forgotten any of this.

Don’t mistake me for a Bakugou simp or apologist. I’m not, but while I definitely could also see Tododeku (and I have a soft spot for them, too, their dynamic is totally different and unique, and Todoroki is arguably treated as the tritagonist) and I’m ambivalent about Izuocha (which is written as cannoncially romantic) I do believe that canonically, Bakugou and Deku are framed as soulmates/character foils, Sasuke + Naruto, Kageyama + Hinata style. Their relationship is arguably the focus of the series. That’s not to undermine the importance or impact of Deku’s relationships with other characters, and theirs with him, but in terms of which one takes priority, and which one this all hinges on?

The manga is about a lot of things, yes, but if it were to be distilled into one relationship, buckle up, because it’s the Bakudeku show.

Power is Power: the Brain-Melting Process of Normalization and Toxic Masculinity

One of the ways in which the biopolitical prioritization of Quirks is exemplified within Hero society is through Quirk marriages. Endeavor partially rationalizes the abuse of his family through the creation of a child with the perfect quirk, a child who can be molded into the perfect Hero. People with powerful, or useful abilities, are ranked high on the hierarchy of power and privilege, and with a powerful ability, the more opportunities and avenues for success are available to them.

For the most part, Bakugou is a super spoiled, privileged little rich kid who is born talented but is enabled for his aggressive behavior and, as a child, cannot move past his many internalized complexes, treats his peers like shit, and gets away with it because the hero society he lives in either has this “boys will be boys” mentality, or it’s an example of the way that power, or Power, is systematically prioritized in this society. The hero system enables and fosters abusers, people who want power and publicity, and people who are genetically predisposed to have advantages over others. There are plenty of good people who believe in and participate in this system, who want to be good, and who do good, but that doesn’t change the way that the hero society is structured, the ethical ambiguity of the Hero Commission, and the way that Heroes are but pawns, idols with machine guns, used to sell merch to the public, to install faith in the government, or the current status quo, and reinforce capitalist propaganda. Even All Might, the epitome of everything a Hero should be, is drained over the years, and exists as a concept or idea, when in reality he is a hollow shell with an entire person inside, struggling to survive. Hero society is functionally dependent on illusion.

In Marxist terms: There is no truth, there is only power.

Although Bakugou does change, and I think that while he regrets his actions, what is long overdue is him verbally expressing his remorse, both to himself and Deku. One might argue that he’s tried to do it in ways that are compatible with his limited emotional range of expression, and Deku seems to understand this language implicitly.

I am of the opinion that the narrative is building up to a verbal acknowledgement, confrontation, and subsequent apology that only speaks what has gone unspoken.

That being said, Bakugou is a great example of the way that figures of authority (parents, teachers, adults) and institutions both in the real world and this fictional universe reward violent behavior while also leaving mental and emotional health — both his own and of the people Bakugou hurts — unchecked, and part of the way he lashes out at others is because he was never taught otherwise.

And by that, I’m referring to the ways that are to me, genuinely disturbing. For example, yelling at his friends is chill. But telling someone to kill themselves, even casually and without intent and then misinterpreting everything they do as a ploy to make you feel weak because you're projecting? And having no teachers stop and intervene, either because they are afraid of you or because they value the weight that your Quirk can benefit society over the safety of children? That, to me, is both real and disturbing.

Not only that, but his parents (at least, Mitsuki), respond to his outbursts with more outbursts, and while this is likely the culture of their home and I hesitate to call it abusive, I do think that it contributed to the way that he approaches things. Bakugou as a character is very complex, but I think that he is primarily an example of the way that the Hero System fails people.

I don’t think we can write off the things he’s done, especially using the line of reasoning that “He didn’t mean it that way”, because in real life, children who hurt others rarely mean it like that either, but that doesn’t change the effect it has on the people who are victimized, but to be absolutely fair, I don’t think that the majority of Bakudeku shippers, at least now, do use that line of reasoning. Most of them seem to have a handle on exactly how fucked up the Hero society is, and exactly why it fucks up the people embedded within that society.

The characters are positioned in this way for a reason, and the discoveries made and the development that these characters undergo are meant to reveal more about the fictional world — and, perhaps, our world — as the narrative progresses.

The world of the Hero society is dependent, to some degree, on biopolitics. I don’t think we have enough evidence to suggest that people with Quirks or Quirkless people place enough identity or placement within society to become equivalent to marginalized groups, exactly, but we can draw parallels to the way that Deku and by extent Quirkless people are viewed as weak, a deviation, or disabled in some way. Deviants, or non-productive bodies, are shunned for their inability to perform ideal labor. While it is suggested to Deku that he could become a police officer or pursue some other occupation to help people, he believes that he can do the most positive good as a Hero. In order to be a Hero, however, in the sense of a career, one needs to have Power.

Deviation from the norm will be punished or policed unless it is exploitable; in order to become integrated into society, a deviant must undergo a process of normalization and become a working, exploitable body. It is only through gaining power from All Might that Deku is allowed to assimilate from the margins and into the upper ranks of society; the manga and the anime give the reader enough perspective, context, and examples to allow us to critique and deconstruct the society that is solely reliant on power.

Through his societal privileges, interpersonal biases, internalized complexes, and his subsequent unlearning of these ideologies, Bakugou provides examples of the way that the system simultaneously fails and indoctrinates those who are targeted, neglected, enabled by, believe in, and participate within the system.

Bakudeku are two sides of the same coin. We are shown visually that the crucial turning point and fracture in their relationship is when Bakugou refuses to take Deku’s outstretched hand; the idea of Deku offering him help messes with his adolescent perspective in that Power creates a hierarchy that must be obeyed, and to be helped is to be weak is to be made a loser.

Largely, their character flaws in terms of understanding the hero society are defined and entangled within the concept of power. Bakugou has power, or privilege, but does not have the moral character to use it as a hero, and believes that Power, or winning, is the only way in which to view life. Izuku has a much better grasp on the way in which heroes wield power (their ideologies can, at first, be differentiated as winning vs. saving), and is a worthy successor because of this understanding, and of circumstance. However, in order to become a Hero, our hero must first gain the Power that he lacks, and learn to wield it.

As the characters change, they bridge the gaps of their character deficiencies, and are brought closer together through character parallelism.

Two sides of the same coin, an outstretched hand.

They are better together.

How to Kill Middle Schoolers, and Why We Should

I think it’s fitting that in the manga, a critical part of Bakugou’s arc explicitly alludes to killing the middle school version of himself in order to progress into a young adult. In the alternative covers Horikoshi released, one of them was a close up of Bakugou in his middle school uniform, being stabbed/impaled, with blood rolling out of his mouth. Clearly this references the scene in which he sacrifices himself to save Deku, on a near-instinctual level.

To me, this only cements Horikoshi’s intent that middle school Bakugou must be debunked, killed, discarded, or destroyed in order for Bakugou the hero to emerge, which is why people who do actually excuse his actions or believe that those actions define him into young adulthood don’t really understand the necessity for change, because they seem to imply that he doesn’t need/cannot reach further growth, and there doesn’t need to be a separation between the Bakugou who is, at heart, volatile and repressed the angry, and the Bakugou who sacrifices himself, a hero who saves people.

Plot twist: there does need to be a difference. Further plot twist: there is a difference.

In sacrificing himself for Deku, Bakugou himself doesn't die, but the injury is fatal in the sense that it could've killed him physically and yet symbolizes the selfish, childish part of him that refused to accept Deku, himself, and the inevitability of change. In killing those selfish remnants, he could actually become the kind of hero that we the reader understand to be the true kind.

That’s why I think that a lot of the people who stress his actions as a child without acknowledging the ways he has changed, grown, and tried to fix what he has broken don’t really get it, because it was always part of his character arc to change and purposely become something different and better. If the effects of his worst and his most childish self stick with you more, and linger despite that, that’s okay. But distilling his character down to the wrong elements doesn’t get you the bare essentials; what it gets you is a skewed and shallow version of a person. If you’re okay with that version, that is also fine.

But you can’t condemn others who aren’t fine with that incomplete version, and to become enraged that others do not see him as you do is childish.

Bakugou’s change and the emphasis on that change is canon.

Parallels in Abuse, EnemiesRivals-to-Lovers, and the Necessity of Redemption ft. ATLA’s Zuko

In real life, the idea that “oh, he must bully you because he likes you” is often used as a way to brush aside or to excuse the action of bullying itself, as if a ‘secret crush’ somehow negates the effects of bullying on the victim or the inability of the bully to properly process and manifest their emotions in certain ways. It doesn’t. It often enables young boys to hurt others, and provides figures of authority to overlook the real source of schoolyard bullying or peer review. The “secret crush”, in real life, is used to undermine abuse, justify toxic masculinity, and is essentially used as a non-solution solution.

A common accusation is that Bakudeku shippers jump on the pairing because they romanticize pairing a bully and a victim together, or believe that the only way for Bakugou to atone for his past would be to date Midoryia in the future. This may be true for some people, in which case, that’s their own preference, but based on my experience and what I’ve witnessed, that’s not the case for most.

The difference being is that as these are characters, we as readers or viewers are meant to analyze them. Not to justify them, or to excuse their actions, but we are given the advantage of the outsider perspective to piece their characters together in context, understand why they are how they are, and witness them change; maybe I just haven’t been exposed to enough of the fandom, but no one (I’ve witnessed) treats the idea that “maybe Bakugou has feelings he can’t process or understand and so they manifest in aggressive and unchecked ways'' as a solution to his inability to communicate or process in a healthy way, rather it is just part of the explanation of his character, something is needs to — and is — working through. The solution to his middle school self is not the revelation of a “teehee, secret crush”, but self-reflection, remorse, and actively working to better oneself, which I do believe is canonically reflected, especially as of recently.

In canon, they are written to be partners, better together than apart, and I genuinely believe that one can like the Bakudeku dynamic not by route of romanticization but by observation.

I do think we are meant to see parallels between him and Endeavor; Endeavor is a high profile abuser who embodies the flaws and hypocrisy of the hero system. Bakugou is a schoolyard bully who emulates and internalizes the flaws of this system as a child, likely due to the structure of the society and the way that children will absorb the propaganda they are exposed to; the idea that Quirks, or power, define the inherent value of the individual, their ability to contribute to society, and subsequently their fundamental human worth. The difference between them is the fact that Endeavor is the literal adult who is fully and knowingly active within a toxic, corrupt system who forces his family to undergo a terrifying amount of trauma and abuse while facing little to no consequences because he knows that his status and the values of their society will protect him from those consequences. In other words, Endeavor is the threat of what Bakugou could have, and would have, become without intervention or genuine change.

Comparisons between characters, as parallels or foils, are tricky in that they imply but cannot confirm sameness. Having parallels with someone does not make them the same, by the way, but can serve to illustrate contrasts, or warnings. Harry Potter, for example, is meant to have obvious parallels with Tom Riddle, with similar abilities, and tragic upbringings. That doesn’t mean Harry grows up to become Lord Voldemort, but rather he helps lead a cross-generational movement to overthrow the facist regime. Harry is offered love, compassion, and friends, and does not embrace the darkness within or around him. As far as moldy old snake men are concerned, they do not deserve a redemption arc because they do not wish for one, and the truest of change only occurs when you actively try to change.

To be frank, either way, Bakugou was probably going to become a good Hero, in the sense that Endeavor is a ‘good’ Hero. Hero capitalized, as in a pro Hero, in the sense that it is a career, an occupation, and a status. Because of his strong Quirk, determination, skill, and work ethic, Bakugou would have made a good Hero. Due to his lack of character, however, he was not on the path to become a hero; defender of the weak, someone who saves people to save people, who is willing to make sacrifices detrimental to themselves, who saves people out of love.

It is necessary for him to undergo both a redemption arc and a symbolic death and rebirth in order for him to follow the path of a hero, having been inspired and prompted by Deku.

I personally don’t really like Endeavor’s little redemption arc, not because I don’t believe that people can change or that they shouldn't at least try to atone for the atrocities they have committed, but because within any narrative, a good redemption arc is important if it matters; what also matters is the context of that arc, and whether or not it was needed. For example, in ATLA, Zuko’s redemption arc is widely regarded as one of the best arcs in television history, something incredible. And it is. That shit fucks. In a good way.

It was confirmed that Azula was also going to get a redemption arc, had Volume 4 gone on as planned, and it was tentatively approached in the comics, which are considered canon. She is an undeniably bad person (who is willing to kill, threaten, exploit, and colonize), but she is also a child, and as viewers, we witness and recognize the factors that contributed to her (debatable) sociopathy, and the way that the system she was raised in failed her. Her family failed her; even Uncle Iroh, the wise mentor who helps guide Zuko to see the light, is willing to give up on her immediately, saying that she’s “crazy” and needs to be “put down”. Yes, it’s comedic, and yes, it’s pragmatic, but Azula is fourteen years old. Her mother is banished, her father is a psychopath, and her older brother, from her perspective, betrayed and abandoned her. She doesn’t have the emotional support that Zuko does; she exploits and controls her friends because it’s all she’s been taught to do; she says herself, her “own mother thought [she] was a monster; she was right, of course, but it still [hurts]”. A parent who does not believe in you, or a parent that uses you and will hurt you, is a genuine indicator of trauma.

The writers understood that both Zuko and Azula deserved redemption arcs. One was arguably further gone than the other, but that doesn’t change the fact that they are both children, products of their environment, who have the time, motive, and reason to change.

In contrast, you know who wouldn’t have deserved a redemption arc? Ozai. That simply would not have been interesting, wouldn’t have served the narrative well, and honestly, is not needed, thematically or otherwise. Am I comparing Ozai to Endeavor? Basically, yes. Fuck those guys. I don’t see a point in Endeavor’s little “I want to be a good dad now” arc, and I think that we don’t need to sympathize with characters in order to understand them or be interested in them. I want Touya/Dabi to expose his abuse, for his career to crumble, and then for him to die.

If they are not challenging the system that we the viewer are meant to question, and there is no thematic relevance to their redemption, is it even needed?

On that note, am I saying that Bakugou is the equivalent to Zuko? No, lmao. Definitely not. They are different characters with different progressions and different pressures. What I am saying is that good redemption arcs shouldn’t be handed out like candy to babies; it is the quality, rather than the quantity, that makes a redemption arc good. In terms of the commentary of the narrative, who needs a redemption arc, who is deserving, and who does it make sense to give one to?

In this case, Bakugou checks those boxes. It was always in the cards for him to change, and he has. In fact, he’s still changing.

Give it to Me Straight. It’s Homophobic.

There does seem to be an urge to obsessively gender either Bakugou or Deku, in making Deku the ultra-feminine, stereotypically hyper-sexualized “woman” of the relationship, with Bakugou becoming similarly sexualized but depicted as the hyper-masculine bodice ripper. On some level, that feels vaguely homophobic if not straight up misogynistic, in that in a gay relationship there’s an urge to compel them to conform under heteronormative stereotypes in order to be interpreted as real or functional. On one hand, I will say that in a lot of cases it feels like more of an expression of a kink, or fetishization and subsequent expression of internalized misogyny, at least, rather than a genuine exploration of the complexity and power imbalances of gender dynamics, expression, and boundaries.

That being said, I don’t think that that problematic aspect of shipping is unique to Bakudeku, or even to the fandom in general. We’ve all read fan work or see fanart of most gay ships in a similiar manner, and I think it’s a broader issue to be addressed than blaming it on a singular ship and calling it a day.

One interpretation of Bakugou’s character is his repression and the way his character functions under toxic masculinity, in a society’s egregious disregard for mental and emotional health (much like in the real world), the horrifying ways in which rage is rationalized or excused due to the concept of masculinity, and the way that characteristics that are associated with femininity — intellect, empathy, anxiety, kindness, hesitation, softness — are seen as stereotypically “weak”, and in men, traditionally emasculating. In terms of the way that the fictional universe is largely about societal priority and power dynamics between individuals and the way that extends to institutions, it’s not a total stretch to guess that gender as a construct is a relevant topic to expand on or at least keep in mind for comparison.

I think that the way in which characters are gendered and the extent to which that is a result of invasive heteronormativity and fetishization is a really important conversation to have, but using it as a case-by-case evolution of a ship used to condemn people isn’t conductive, and at that point, it’s treated as less of a real concern but an issue narrowly weaponised.

Love in Perspective, from the East v. West

Another thing I think could be elaborated on and written about in great detail is the way that the Eastern part of the fandom and the Western part of the fandom have such different perspectives on Bakudeku in particular. I am not going to go in depth with this, and there are many other people who could go into specifics, but just as an overview:

The manga and the anime are created for and targeted at a certain audience; our take on it will differ based on cultural norms, decisions in translation, understanding of the genre, and our own region-specific socialization. This includes the way in which we interpret certain relationships, the way they resonate with us, and what we do and do not find to be acceptable. Of course, this is not a case-by-case basis, and I’m sure there are plenty of people who hold differing beliefs within one area, but speaking generally, there is a reason that Bakudeku is not regarded as nearly as problematic in the East.

Had this been written by a Western creator, marketed primarily to and within the West (for reference, while I am Chinese, but I have lived in the USA for most of my life, so my own perspective is undoubtedly westernized), I would’ve immediately jumped to make comparisons between the Hero System and the American police system, in that a corrupt, or bastardized system is made no less corrupt for the people who do legitimately want to do good and help people, when that system disproportionately values and targets others while relying on propaganda that society must be reliant on that system in order to create safe communities when in reality it perpetuates just as many issues as it appears to solve, not to mention the way it attracts and rewards violent and power-hungry people who are enabled to abuse their power. I think comparisons can still be made, but in terms of analysis, it should be kept in mind that the police system in other parts of the world do not have the same history, place, and context as it does in America, and the police system in Japan, for example, probably wasn’t the basis for the Hero System.

As much as I do believe in the Death of the Author in most cases, the intent of the author does matter when it comes to content like this, if merely on the basis that it provides context that we may be missing as foreign viewers.

As far as the intent of the author goes, Bakugou is on a route of redemption.

He deserves it. It is unavoidable. That, of course, may depend on where you’re reading this.

Stuck in the Sludge, the Past, and Season One

If there’s one thing, to me, that epitomizes middle school Bakugou, it’s him being trapped in a sludge monster, rescued by his Quirkless childhood friend, and unable to believe his eyes. He clings to the ideology he always has, that Quirkless means weak, that there’s no way that Deku could have grown to be strong, or had the capacity to be strong all along. Bakugou is wrong about this, and continuously proven wrong. It is only when he accepts that he is wrong, and that Deku is someone to follow, that he starts his real path to heroics.

If Bakudeku’s relationship does not appeal to someone for whatever reason, there’s nothing wrong with that. They can write all they want about why they don’t ship it, or why it bothers them, or why they think it’s problematic. If it is legitimately triggering to you, then by all means, avoid it, point it out, etc. but do not undermine the reality of abuse simply to point fingers, just because you don’t like a ship. People who intentionally use the anti tag knowing it’ll show up in the main tag, go after people who are literally minding their own business, and accuse people of supporting abuse are the ones looking for a fight, and they’re annoying as hell because they don’t bring anything to the table. No evidence, no analysis, just repeated projection.

To clarify, I’m referring to a specific kind of shipper, not someone who just doesn’t like a ship, but who is so aggressive about it for absolutely no reason. There are plenty of very lovely people in this fandom, who mind their own business, multipship, or just don’t care.

Calling shippers dumb or braindead or toxic (to clarify, this isn’t targeting any one person I’ve seen, but a collective) based on projections and generalizations that come entirely from your own impression of the ship rather than observation is...really biased to me, and comes across as uneducated and trigger happy, rather than constructive or helpful in any way.

I’m not saying someone has to ship anything, or like it, in order to be a ‘good’ participant. But inserting derogatory material into a main tag, and dropping buzzwords with the same tired backing behind it without seeming to understand the implications of those words or acknowledging the development, pacing, and intentional change to the characters within the plot is just...I don’t know, it comes across as redundant, to me at least, and very childish. Aggressive. Toxic. Problematic. Maybe the real toxic shippers were the ones who bitched and moaned along the way. They’re like little kids, stuck in the past, unable to visualize or recognize change, and I think that’s a real shame because it’s preventing them from appreciating the story or its characters as it is, in canon.

But that’s okay, really. To each their own. Interpretations will vary, preferences differ, perspectives are not uniform. There is no one truth. There are five seasons of the show, a feature film, and like, thirty volumes as of this year.

All I’m saying is that if you want to stay stuck in the first season of each character, then that’s what you’re going to get. That’s up to you.

This may be edited or revised.

[scope-dogg]

So I always see gifs about Getter Robo here and there and have only heard positive things ( I also dig the fat rounded mech designs!), but never anything in detail unfortunately. Seems like one of those properties where everyone who likes it is very invested though! As a mech enthusiast, could you explain what about the series you find appealing and what a recommended watch order (if there's any need for one) watch location might be? I understand some series of that age just aren't available legally in the West anymore, which is a big bummer

Honestly for a series as long and storied as Getter it can be hard to pin down the underpinning appeal to one single thing, but I'd say the closest you'd get to capturing the fundamental appeal to most people it'd be that it's perhaps that it's practically the archetype for a super robot series with a harder edge than most. It stood out on that basis even when the mecha genre was still in its relative infancy and it's managed to keep that distinction to this very day. It's a franchise that's never shied away from violence - from the genesis of the genre until today, the archetypical mecha pilot has been a spunky and/or sensitive teen, while your average Getter pilot, while still fundamentally heroic, is a borderline psychotic hard bastard, the kind of person that would probably be in jail in real life. Even when they're up against some really nightmarish shit they always seem to revel in the battle and resolve to win through sheer determination. You've probably seen Gurren Lagann, in which case that description might sound somewhat familiar. That's not a coincidence, Getter Robo is one of TTGL's biggest influences and even though the two series differ in many other ways, it occupied a somewhat similar space in the collective consciousness to the one that TTGL now occupies in the minds of most (and still does to a degree, it's one of the genre's most important founding works and as such has remained relevant for basically its whole lifespan.)

Later entries see the series get a lot more existential, and start dealing with the concepts of the future of human evolution and the fear of an unknown and possibly terrifying future that sees mankind blunder into the clutches of forces beyond its control and understanding. While the series initial core appeal of seeing hard men use their robot to battle hellish enemies remains, that cosmic horror aspect was really important to the franchise's maturing identity and is likewise a huge part of what makes it remain so appealing to so many - it's pretty much at the core of all the franchise's best installments.

As for where to begin, it's complicated and at the same time, not. As for anime, it can be tough to pick one. There's the Toei original series and its sequel Getter Robo G, though these, in addition to being old and dated, are arguably a softened-down version of the story meant for kids' TV that, while popular in their own right back in the day, don't really capture what most people now find appealing about the franchise. You're probably better off overall looking at one of the OVAs instead. In release order, those are Getter Robo Armageddon, Shin Getter Robo vs Neo Getter Robo, and New Getter Robo. All three of these are basically various attempts to blend together various chapters on the manga, along with aspects from other works done by the original author Ken Ishikawa. The thing is though, Armageddon and Shin vs Neo both assume at least some level of familiarity with the existing characters and lore, even if each one is in its own continuity. New Getter Robo is kind of like a reboot and as such is more self-contained, but at the same time is probably the one that veers off from the established tone and lore the most wildly.

In my opinion, the best thing to do is go to the source, and read Ken Ishikawa's manga from the beginning. The Getter Robo saga consists of five different chapters, those being, in release order, the original, Getter Robo G, Getter Robo Go, Shin Getter Robo and Getter Robo Arc. While the original and G are definitely old they've been touched up for rerelease and are still very readable and easy to get through while having a ton of old-school charm to them. However, once you hit Go, that's where the party truly begins. Its the quality of work that started there that really built the series up from a relatively simple good-guys vs bad-guys story into what it is today. If disciples of Getter seem very invested in the franchise, it's most likely because of ideas that first get explored here. Go's followed up by Shin Getter Robo, which is a prequel to the events of Go that explains some important things but also sets up stuff that's important for the final chapter, Getter Robo Arc. Sadly, Ken Ishikawa died before the manga could be completed, leaving the story without an ending - until now. An anime adaptation of Arc has been airing for the last few months. The final episode, presumably featuring the final true ending to the Getter Robo saga, airs this upcoming Sunday.

[monstroso]

William Murderface

my boy!!!!!

a little known fact about me is Murderface might be my favorite Dethklok band member. it doesn't happen so much anymore but when people do fanart and leave him out of the lineup i get so upset. draw ugly guys!!

My NOTP for them: ??

I feel like I don't really have one? I think anyone trying to work out Murderface ships in this fandom is doing something interesting, and there's enough interpersonal drama there for each relationship that I think you could make something worthwhile if you were actually invested. The only ones I might be iffy on is Charles/Murderface or Abigail/Murderface if only because they have like. Standards.

My BROTP for them: Toki

Some of the best episodes (imo!!) are the ones where Murderface and Toki get sidelined and and have to do their own thing for a while sans the actual competent members of the band. Dethrecord's b-plot (Takin' It Easy) and Dethsiduals (the Get Thee Hence episode) are both some of my favorite moments on the show, and I think they work because when Toki's being a wet napkin it forces Murderface to take charge and actually Do Tasks. That said, just because Toki and Murderface are bros, doesn't mean they work well together, and I love to see that fallout as well.

My OTP for them: It's Gotta Be Dick.

I mean, it's gotta be Dick, right? Actually on my most recent rewatch I gained a lot of appreciation for Dick Knubbler and just how crucial he is to Dethklok, but that's an essay for another time. Right now, we're talking about Willie! I love that he calls him Willie. I also love that to date he's the only person who has actually gotten a William Murderface disaster project off the ground. Not really successfully, mind, but the Christmas Special did actually happen! So that's something! I love that Dick isn't afraid of William, I love that he's so confident in his ability to sell seashells to beachgoers that it doesn't even register that he's probably better off spending his energy on a project that might actually get people excited and turn a profit instead of Unsuccessful Murderface Fiasco #832. Really solid foundation for something interesting here.

My second choice pairing for them: Skwisgaar

Okay hear me out, hear me out!! Here's a guy. Who will sleep with anything. Here's another guy who can't get laid to save his life. You see where I'm going with this, yeah? I'm joking but like. Also. There's tension there because of the attractiveness and skill gap. They're also (I'd argue) the two guys in the band most likely to be anything other than straight. I really think an enterprising individual could make a very convincing case here.

My fluffy pairing for them & My angsty pairing for them 

I'll just put these two together since my answer kind of covers both of them and is also really boring. Murderface isn't, like, the kind of guy with a lot of depth of character, and these questions assume I'm going to really Dig Deep and get really Invested in making these relationships the kind of thing that makes you have emotions. His backstory is arguably the least fleshed-out in the band and it doesn't actually tie much into the mythos of the prophecy and all that. He's just a really unfortunate joke character with a lot of self-esteem issues who surrounds himself with people who exacerbate those issues. To make his relationships angsty or fluffy would require more from him than I think the narrative can really give.

My favorite poly ship for them

I really wish I had more poly ships so this question doesn't make me look like an intolerant jackass. I love poly ships but only in very specific cases! William Murderface is not one of those cases lmao.

My weirdest pairing for them: Magnus

I have, in my drafts at this very moment, an unfinished Magnus/Murderface fic that will never see god's light that I am unreasonably proud of. Trash heaps deserve one another.